Sunday, March 12, 2017

Kangding Ray North American Tour & Lecture to Benefit the ACLU at Mokedo Gallery: March 10 - 18

Next week Kremwerk, Lust Strength and MOTOR host the Seattle date in Kangding Ray's North American tour. Earlier that day, David Letellier will also be presenting a lecture at Mokedo Gallery, with all profits to benefit the ACLU. It's been a inspired arc since the inception of Raster-Noton, Letellier's home label, some 20 years ago. Over the course of the past two decades the label and publisher has defied the accelerated marginalized and fadishness of electronic music's short "half life", all the while transcending reductive genre codifications. On this side of the Atlantic they've made sporadic showcase appearances in major cities across the continent, from San Francisco and Los Angeles, to Mutek Montreal and beyond. Each time the occasion marked by an evolutionary leap present in each artists performance, as well as the larger audio/visual expression of the label's continuance. The second decade of the 21st
Century has yielded some of the finest work to be heard from it's roster. The collaborative Alva Noto & Ryuichi Sakamoto albums are a high point, as is Carsten Nicolai's ongoing serial solo work, the Xerrox series. It's two most recent installations characterized by the enveloping vocabulary of distortion on "Xerrox Vol.2" and melodic beauty of this year's rapturous "Xerrox Vol.3". A project which when completed, will likely stand as the opus of
Nicolai's recorded career. The year was also distinguished by the dou's release of the collaborative soundtrack to Alejandro Iñárritu's award winning film, "The Revenant". Frank Bretschneider's "EXP"
was another high water mark for the label, this boundary pushing multi-media set of
abstract audiovisual sculptural objects has not seen another peer in his
discography. The label's core trio is rounded out by Olaf Bender and his Byetone project, from which 2008's "Death of a Typographer" was an unexpected meeting of energized motoric Krautrock and 80's synth-pop inspired explorations.

Outside
of the core ensemble that initiated the imprint, Raster-Noton has enfolded a global body of work. Ranging from Japan's urban experimental dancefloor duo Kouhei Matsunaga and Toshio Munehiro, as NHK to the DeStijl inspired dynamic austerity of Emptyset to the pure datamatic audio-visual sensory environments of Ryoji Ikeda and Vladislav Delay's improvisation and jazz-informed rhythmic wanderings. The parameters of
the label's scope have expanded with the inclusion of the humor and retro-futurism of Uwe Schmidt's live sets as Atom TM, most recently seen on the media package, "HD+" and the melodic dream-ambulations of the abstract pop in Dasha Rush's excellent, "Sleepstep" of 2015. Other recent additions to the label's cast include the pointilist digital rhythms and disintegrated melodic textures of David Letellier's Kangding Ray
project and the complex theoretical investigations of Grischa Lichtenberger's "LA DEMEURE; il y a péril en la demeure", the first of his proposed five-part explorations on the subject of isolation and privacy. David Letellier's Kangding Ray project has been one of the most prolific of these new artists expanding the form of Raster's conception. His recent rapid-fire trilogy of albums, "Cory Arcane", "Solens Arc" and the stylisticly divergent "Pentaki Slopes" EP that initiated his current sound. These albums marking a shift toward a more aggressive, dynamic sound comprised of pointilist digital patterns and disintegrated melodic textures that morph into suggestive rave anthems and abrasive club rhythms. The juxtaposition of these contrary elements are refitted into uneven patterns not unlike a sonic deconstructivist architecture, where industrial techno stompers dissolve into granular sound design and filtered synth pads. When it all comes together in a live setting, it's dynamic endless-detouring of the parameters of techno is something to witness.

Documenting adventures in explorative modern music, film, visual art, architecture, design and performance. Regardless of genre, class or style. Essentially thoughts, reflections and criticism on non-commercial contemporary artforms that come to my attention. Either through witnessing them here in my home city, while traveling abroad, or the journalistic work of others. As well as occasional interjections of existential, experiential, cultural or political enthusiasms and consternations that may crop up along the way. ie; Life.